Theater Review: The New York Gilbert & Sullivan Players' "The Pirates of Penzance" at the Carpenter Center (2018)
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| The New York Gilbert & Sullivan Players |
To general audiences, opera is an acquired taste full of booming voices and theatrical acting that may seem outdated when compared to the modern musical. However, there is one form of opera (an operetta to be precise) that is likely to convert even the staunchest of skeptics. The work of Gilbert & Sullivan has aged surprisingly well given its release in 1879 simply because it takes everything seriously while telling a story full of slapstick, clever asides, lyrical puns, and an overall sense of joy. It's what made The New York Gilbert & Sullivan Players' one night performance of "The Pirates of Penzance" at the Carpenter Center not only a fun celebration of the duo's work, but a fun reminder that art doesn't need to be boring to be great.
Long before the curtain goes up, the show has already developed a bit of a cheeky vibe. The first person introduced is conductor Albert Bergeret, whose loud pattering feet rushes to the front of the orchestra pit to hail the audience. It's a small comical moment, and also not the last time that the band will play a prominent role in the story. Besides the actual music, there are a few asides that highlight the music, such as an extended gag about which percussive instrument to play when an actor sings "chimes." It's a show that's all inclusive in ways that modern theater tends to lack, even having Bergeret join the cast onstage during the final bows. In some ways, the orchestra is the heart of the show's whimsical energy, and it only makes sense that the conductor is himself an off-stage character of prominence.
The show that follows is in fact a comic opera, and one that introduces "Pirate Maid-of-all-work" Ruth (Angela Christine Smith) in a song that is a clever game of semantics. She is talking about the time she heard "Pirate Apprentice" Frederic (Alex Corson) refer to his dreams of being a "pirate" and thought that he said "pilot." It's small lyrical games like this that drive some of the story's funnier moments, and it gets everything off on the right foot. The pirates are carefree and willing to sing a jaunty tune. They thirst for adventure, even as they're confined to an island that features a great cast of characters that include Major-General Stanley (James Mills) and his four female wards. The story from there becomes a delightful romp of misconception and the conflicts that arise from being social deviants.
For those unfamiliar with opera techniques, there will be some challenge to fully understand the singers - especially during ensemble numbers. With that said, the music is incredibly adept at being very catchy and features enough dance routines and physical gags to fill in any blanks. The show's two most memorable numbers, "I Am the Very Model of a Modern Major-General" and "With Cat-Like Tread, Upon Our Prey We Steal," are popular for a reason. They have a dexterity to their structure that at times feel contemporary. It's fascinating to discover how much of this 19th century musical is accessible in part because of how broad the story is and how universal simple prat falls can be. While it's likely that not all the humor is centuries old (there is an ode to A Chorus Line), it mostly works in showing why Gilbert & Sullivan has resonated as mass entertainment. Even if you don't know the words, there's a good chance that you'll be humming along anyways.
It also helps that the players give it their all and provide an almost effortless performance that uses every inch of the stage effectively. There's not a moment in their work that doesn't feel in some ways engaging, whether it is through central performers, or a background gag whose joke is that someone is dancing out of time. The jokes may be simple, but they're effective thanks to how powerful the production ends up being. The music isn't easy to master, so mixing highbrow with lowbrow is a feat unto itself. If you're interested in at least appreciating what operas can be, it's suggested that you wet your toes with a production like that of The New York Gilbert & Sullivan Players. It may not all work, but it's pretty incredible to know how much does after 140 years.
For those unfamiliar with opera techniques, there will be some challenge to fully understand the singers - especially during ensemble numbers. With that said, the music is incredibly adept at being very catchy and features enough dance routines and physical gags to fill in any blanks. The show's two most memorable numbers, "I Am the Very Model of a Modern Major-General" and "With Cat-Like Tread, Upon Our Prey We Steal," are popular for a reason. They have a dexterity to their structure that at times feel contemporary. It's fascinating to discover how much of this 19th century musical is accessible in part because of how broad the story is and how universal simple prat falls can be. While it's likely that not all the humor is centuries old (there is an ode to A Chorus Line), it mostly works in showing why Gilbert & Sullivan has resonated as mass entertainment. Even if you don't know the words, there's a good chance that you'll be humming along anyways.
It also helps that the players give it their all and provide an almost effortless performance that uses every inch of the stage effectively. There's not a moment in their work that doesn't feel in some ways engaging, whether it is through central performers, or a background gag whose joke is that someone is dancing out of time. The jokes may be simple, but they're effective thanks to how powerful the production ends up being. The music isn't easy to master, so mixing highbrow with lowbrow is a feat unto itself. If you're interested in at least appreciating what operas can be, it's suggested that you wet your toes with a production like that of The New York Gilbert & Sullivan Players. It may not all work, but it's pretty incredible to know how much does after 140 years.
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